Process for producing designs in imitation of paintings



May 17, 1938 ERIKSEN 2,117,795

PROCESS FOR PRODUCING DESIGNS IN IMITATION OF PAINTINGS Filed Feb 2,1937 Patented May 17, 1938 PATENT OFFICE PROCESS FOR PRODUCING DESIGNSIN IMITATION OF PAINTINGS Leif Eriksen, Oslo, Norway ApplicationFebruary 2, 1937, Serial No. 123,708 In Sweden February 12, 1936 1Claim.

In the producing of designs in imitation of paintings it is formerlyknown to print the colors, which form the picture, directly on transferpaper and apply over the picture a coat of a varnish which binds thecolor or pigments. The picture prepared in this manner is then saturatedwith water, eventually immersed in water bath, whereby the paperdetaches from the varnish film, which latter is stuck with the colorsdownwards 10 to the new canvas support.

Even if the varnish film, after it has been stuck to the canvas support,during the drying sinks into the roughness of the surface and therebygives the produced imitation a corresponding 15 rough surface, theimitation still lacks the appearance of relief or such differences inheight in the surface, which is the result of the application of thelayers of paints, as well as the strokes of brush, both of which arespecial and conspicu- 20 ous characteristics of a painting.

The present invention relates to a method by means of which the abovenamed drawbacks are avoided and by which the produced imitation becomesa true copy of the painting, figuratively as well as in the wholestructure of the surface.

i he method is described in detail in the following description withreference to the accompanying drawing showing the various stepsdiagrammatically.

30 -In the drawing:

Figure l is a section illustrating the paper with the layers of gum,colors and transparent film,

Figure 2 shows the design of the picture,

Figure 3 shows the new support,

Figure 4 shows a stencil, and

Figure 5 shows a section taken along the line V--V in Figure 3.

The picture from which the imitation is to be produced is printed inusual manner and with 40 the usual media on a sheet of paper I thesurface of which is coated with a thin layer of gum 2, which is solublein water. The printed layers of colors 3 is then coated with atransparent varnish, for example celluloid varnish, which binds thecolors of the picture and constitutes a resistant film serving as asupport for the picture during the operation of transferring the pictureto a new support.

50 In viewing a painting, for example one corresponding to the pictureillustrated in Figure 2, it will be seen that the clouds 5, the sea 6and the cliff l with the lighthouse are, accordingto the succession andthickness of the layers of paint,

55 situated at different and higher levels than the heavens 8, andmoreover the strokes of the brush give the surface correspondingirregularities.

In order to produce similar effects on the imitation, the processaccording to the invention is carried out in the following manner.

The surface of a piece of canvas 9, which constitutes the new supportfor the picture, is covered with a thin coating of flexible glue, whichpreferably may be mixed with white pigment in order to obtain the sameground for the picture as it had on the paper 1 upon which it wasprinted. On that portion of the surface, where the picture or thecolors, according to the original painting, shall lie at a higher level,the support 9 is coated with a correspondingly thick layer ID of a hard-15 ening mass, the surface of which, by means of a relatively stiffbrush or a similar suitable instrument, is given an irregularitycorresponding to strokes of a brush.

In order to facilitate the application of the hardening mass a stencilis used, having cut away portions corresponding to the portions whichare to be coated, which stencil is placed upon the support 9. A stencilas shown in Figure 4 may also be used. This consists of a sheet H inwhich the contours of the portions of the picture, which are to beelevated, are pointed out by perforations l2. When this stencil isplaced upon the support 9 and rubbed over with a color pad or the like,the color will be deposited on the support 9 through the perforationsand, when the stencil is removed, point out the portions which are to becoated with hardening mass.

The said hardening mass may, for example, consist of a mixture of oiland zinc-white, constituting a thick white paint. Instead of zincwhiteother charging materials may be used, at the same time as the oil may bereplaced by other liquids.

When the support 9, prepared as above described, has obtained thedesired degree of dryness the transfer of the picture can take place.

The sheet of paper bearing the picture and the varnish film is saturatedwith water and, when the layer 2 of gum becomes moistened, detached fromthe picture, which adheres to the varnish film. Thereafter the support9, and preferably also the film 4, is provided with a layer of adhesive,whereupon the film is stuck with the colors downwards to the support 9in the correct position in relation to the applied mass I0.

During the drying of the film, this will sink into the special roughnessof the surface of the mass l0 and of the canvas 9, so that the strokesof brush and roughness of the canvas appear in the film precisely as inan actual painting. Moreover the respective portions of the picture,owing to the mass Ii! applied on the support 9, appear with the correctlevels with respect to the surface of the canvas so that the finishedimitation receives a likeness true to nature to the original painting.

I claim:

A process for producing designs in imitation of paintings consisting inprinting a picture positively on a gummed surface of a sheet of paper,

coating the picture with a film of varnish, saturating the film when drywith Water for removing the sheet of paper, applying a coating ofhardening mass to a canvas support on portions where it is desirable toraise the surface of the picture in accordance with the surface of theoriginal painting and roughening the surface'thus raised to simulate thestroke of a brush and finally applying the picture bearing film to theraised roughened surface of the canvas support.

LEIE ERIKSEN.

